New Delhi, October 25, 2026: A symposium on performing arts was organised on Sunday at Kala Sankul, the central office of Sanskar Bharati, with the objective of exploring the relationship between Indian art, culture, and social consciousness. The symposium focused on the Indian perspective on street theatre, its close connection with society, and its role in promoting public awareness.

The programme featured Dr. Vinod Narayan Indurkar, Chairman, CCRT, as the chief guest and speaker. He shared his perspectives on the social relevance of art and its place within the Indian cultural ethos. The discussion highlighted the longstanding tradition of artistic expression as a means not merely of entertainment, but also of engaging with society, awakening public consciousness, and encouraging meaningful dialogue.

A major highlight of the symposium was the presentation of ‘Athanni’, a street play staged by Pratidhwani Theatre Society. The performance drew attention to pressing social challenges, including human trafficking and substance abuse among children. Through the accessible and engaging format of street theatre, the play brought these concerns into the public domain, demonstrating the potential of performance traditions rooted in everyday life to communicate important social messages.

Street theatre holds a distinctive place in the performing arts because it brings artists and audiences into direct contact. By presenting social issues through relatable situations and immediate interaction, it encourages audiences to reflect on realities that often remain overlooked. The presentation of ‘Annani’ underscored how theatre can give a voice to social concerns, evoke empathy, and create opportunities for public engagement. Such awareness can become a meaningful step towards wider social change when supported by dialogue, collective participation, and sustained action.

The symposium also explored the relevance of Indian cultural traditions in addressing contemporary social challenges. Rooted in the experiences and expressions of everyday life, India’s folk and performance traditions have long served as platforms for communicating ideas, reflecting collective concerns, and strengthening community bonds. Street theatre continues this tradition in a contemporary form, connecting artistic expression with the realities of society.

The programme was attended by Kala Sankul members Vishwadeep, Sneha Mukherjee, Ritambhara, and others associated with art and culture. The gathering provided artists, theatre practitioners, and cultural enthusiasts with an opportunity to reflect on the role of theatre from an Indian cultural perspective and explore ways in which artistic expression can contribute to greater social awareness.

Kala Sankul, the central office of Sanskar Bharati, continues to encourage artistic practice, cultural discourse, and creative expression. Initiatives such as this symposium create valuable platforms for bringing together cultural perspectives and contemporary social concerns, while fostering dialogue on the wider responsibilities of the performing arts.

The central message of the symposium was that the true significance of art lies not only in its power of expression but also in its ability to touch minds, awaken sensibilities, and inspire reflection. When theatre inspired by Indian cultural values engages with contemporary social realities, it can serve as a meaningful bridge between culture and society. Through the presentation of ‘Annani’ and the discussions surrounding it, the symposium highlighted the continuing relevance of street theatre as a medium of social dialogue and public awareness.

Five-day exhibition at Kala Sankul concludes with felicitation of 33 participating artists

New Delhi: A vibrant celebration of India’s folk and traditional art traditions came to a close at Kala Sankul on September 30 with the conclusion of ‘Rangmanjusha’, a five-day exhibition organised by the Visual Arts Vidya of Sanskar Bharati, Delhi Prant. Held from September 26 to 30 at Kala Sankul, 33 Deen Dayal Upadhyay Marg, New Delhi, the exhibition brought together 33 artists whose works reflected the remarkable diversity of India’s traditional visual culture.

From the intricate visual language of Madhubani to the distinctive forms of Warli and Gond, and from the devotional richness of Pichwai to the narrative tradition of Phad, the exhibition offered visitors an opportunity to encounter several artistic traditions under one roof. Sujani, Manjusha and traditional art from Kerala were also represented, along with mural art and the art of doll-making.

What made the exhibition particularly engaging was the diversity of artistic languages on display. Each tradition carried its own vocabulary of colours, lines, motifs and cultural references. Together, they created a visual journey through different regions and communities of India, revealing the close relationship between art, everyday life, rituals, beliefs and cultural traditions.

Abhijeet Gokhale Ji: Connecting Art with History and Cultural Context

At the closing ceremony, Sh. Abhijeet Gokhale Ji, Sangathan Mantri of Sanskar Bharati, appreciated the artworks presented by the participating artists and observed that their hard work and dedication were clearly visible in the paintings.

“All the artists have displayed very good paintings, and the hard work that has gone into creating these works is clearly visible. The theme of the exhibition is also appreciable. If historical and cultural references are presented along with the paintings, visitors will have an opportunity to understand the history of our culture and the cultural environment in which different folk and traditional art forms evolved.”

His observation brought an important dimension to the exhibition—the possibility of viewing traditional art not only as an artistic form but also as a window into India’s history, cultural practices and regional traditions. Providing such context alongside artworks can help audiences, particularly younger viewers, understand the stories and cultural backgrounds associated with the traditions they encounter.

The closing ceremony also became an occasion to recognise the artists whose creative efforts made the exhibition possible. Shri Abhijeet Gokhale and Shri Ashok Tiwari, Karyalaya Sachiv of Sanskar Bharati, felicitated all 33 participating artists.

The participating artists were Anita Verma, Arundhati Mahto, Archana Jha, Alka Sharma, Awadhesh Kumar Karn, Aditya Raj, Kanchan Mani, Kavita Pathak, Kriti Poddar, Grishma Shah, Jyoti Gupta, Dimple Rajput, Dolly Thakur, Pankaj Kumar, Parnika Jain, Pallavi Puri, Prerna Jha, Vandana Thakur, Manish Sharma, Mrinal Singh, Maryleen, Mousumi Patnaik, Yachna Jha, Rajni Kiran Jha, Ruby Devi (Chhath Puja), Ruby Devi (Ganpati), Vandana Jha, Vibha Rani Das, Shampi Kumara, Shivam Chaudhary, Sandhya Shukla, Smita Nair and Swati Kashyap.

Beyond bringing several art traditions together, ‘Rangmanjusha’ provided artists with a platform to present these traditions through their individual creative perspectives. Traditional forms and techniques could be seen alongside contemporary approaches, demonstrating that folk art continues to inspire artistic practice in the present.

The exhibition also highlighted the continuing relevance of traditional art in a changing cultural landscape. Rather than existing merely as a memory of the past, these art forms continue to evolve through the hands of contemporary practitioners. Exhibitions such as ‘Rangmanjusha’ create an important meeting point between artists and audiences while opening avenues for younger generations to discover and engage with India’s diverse artistic heritage.

Organised under the coordination of Jitendra Kumar, Convener, Visual Arts Vidya, and Pankaj Sachdeva, Co-Convener, ‘Rangmanjusha’ remained a colourful meeting ground of artistic traditions throughout its five-day run. Its conclusion with the felicitation of all 33 artists celebrated not only their individual creativity but also the rich cultural traditions that continue to give Indian folk and traditional art its distinctive identity.

Kala Sankul, the cultural centre of Sanskar Bharati, at 33 Deen Dayal Upadhyay Marg, New Delhi, has steadily emerged as a space where Indian art traditions, cultural dialogue and contemporary artistic practices come together. Through its regular programmes, seminars and cultural presentations, Kala Sankul provides artists and audiences with an opportunity to engage with different dimensions of Indian culture. Continuing this tradition, the centre hosted a seminar and cultural programme on Sunday, September 27, on the theme “Contemporary Kathak from an Indian Perspective: Tradition, Innovation and Expression.”

The evening brought together music, Kathak and thoughtful discussion, creating a setting in which the classical tradition could be viewed not only through its established grammar but also through the experiences of contemporary practitioners. Renowned Kathak dancer Gauri Diwakar attended as the chief guest and speaker, sharing perspectives from her own artistic journey and reflecting on the continuing evolution of Kathak.

The programme opened with a soulful solo vocal recital by Dr. Dipit Vats, setting a dignified classical tone for the evening. Yuvrashi accompanied him on the tanpura, while Suraj Kumar and Anmol Vimal provided support on tabla and harmonium. The interplay of voice, rhythm and instrumental accompaniment created an atmosphere that immediately connected the audience with the aesthetic world of Indian classical music.

The musical presentation was followed by a Kathak performance by the Preeti Sinha Group. The dancers brought together traditional Kathak movements, rhythmic footwork, expressive gestures and abhinaya in a well-coordinated stage presentation. The precision of the footwork, the interplay of rhythm and movement, and the coordination between the dancers and musicians were among the highlights of the performance.

What made the presentation particularly engaging was its balance between classical discipline and stage appeal. Without moving away from the fundamental vocabulary of Kathak, the performers created a presentation that communicated its energy and beauty to the contemporary audience. The rhythmic patterns and coordinated movements added a distinct dynamism to the evening.

The performance led naturally into the central conversation of the programme, with renowned Kathak dancer Gauri Diwakar sharing insights from her artistic journey. Rather than limiting her address to a theoretical discussion, she drew upon experiences from her life as a Kathak dancer to illuminate the various dimensions of the seminar’s theme.

Through anecdotes and examples from her own journey, Diwakar spoke about the role of training, sadhana and stage experience in carrying a classical tradition forward. She reflected on the relationship between tradition and experimentation, the changing nature of the stage, and the role of the younger generation in taking Kathak into new spaces.

One of the important aspects of her address was the question of innovation. She emphasised that experimentation can become meaningful when an artist understands the tradition from which the art form has evolved. Her observations brought attention to the relationship between the classical grammar of Kathak and the possibilities offered by contemporary performance.

Diwakar also touched upon the interconnectedness of dance, music, rhythm, taal and expression. Her personal experiences made these ideas accessible and helped the audience understand Kathak not merely as a sequence of movements, but as a comprehensive artistic tradition shaped by rigorous training and continuous practice.

The discussion around the theme also opened up questions about the contemporary possibilities of Kathak. How can an artist innovate without losing the identity of the form? How does a classical tradition respond to changing performance spaces and audiences? And how can the younger generation engage with tradition while finding its own artistic language? These questions gave the seminar a contemporary relevance while keeping its focus firmly rooted in the Indian classical tradition.

The presence of music and dance alongside the discussion gave the programme a distinctive character. Instead of treating the seminar and cultural presentations as separate components, the evening allowed the audience to experience the relationship between artistic practice and intellectual dialogue.

Vishwadeep conducted the programme, maintaining a smooth flow between the performances and the seminar. Sneha Mukherjee, the convenor of the seminar, played an important role in coordinating the event. The programme concluded with a vote of thanks by Shruti Sinha.

The collective contribution of the Kala Sankul family was also an important part of the evening. Raj Upadhyay, Shraboni Saha (Munmun), Ritambhara, Pradeep Pathak and Harshit, along with other members of the Kala Sankul family, contributed to the coordination and arrangements behind the programme. Their efforts ensured that the different components of the evening came together in an organised and cohesive manner.

The programme at Kala Sankul ultimately emerged as more than a cultural presentation. It became a meeting point of music, dance, experience and dialogue. Dr. Dipit Vats’s vocal recital created the musical foundation, the Preeti Sinha Group brought the rhythmic vocabulary of Kathak to the stage, and Gauri Diwakar’s reflections connected the classical tradition with the questions facing contemporary practitioners.

In bringing performance and conversation together, the evening offered a thoughtful glimpse into the continuing journey of Kathak—an art form deeply anchored in tradition, yet constantly engaging with the changing world around it.

Sanskar Bharati’s Monthly Art Seminar Celebrates India’s Cultural Spirit

New Delhi, August 30, 2026: The Kala Sankul in New Delhi came alive with the spirit of patriotism, theatre and Indian cultural consciousness as Sanskar Bharati hosted its monthly Performing Arts Seminar. The programme brought together theatre practitioners, artists and cultural thinkers for an engaging evening centred on the power of theatre to preserve history, memory and national values.

The event was inaugurated with the ceremonial lighting of the lamp by renowned theatre personality, playwright, director and journalist Alok Shukla, along with Sanjay Chaudhary, All India Minister of Sanskar Bharati, Vijay Kumar, Regional Organising Secretary, and other distinguished guests.

The programme opened with a soulful patriotic song presented by Aparna Jaiswal, creating an atmosphere filled with pride and national sentiment.

The central focus of the evening was a discussion on Alok Shukla’s acclaimed play ‘Azaadi Ke Sindoori Rang’, followed by an expressive reading of selected excerpts from the play. Through its powerful theatrical language, the presentation brought alive memories of India’s freedom struggle, the sacrifices of its national heroes and the spirit of an independent India.

The discussion also highlighted the larger role of theatre in society. Speakers observed that theatre is not merely a medium of entertainment; it is also a powerful cultural form through which collective memories, emotions, values and historical consciousness can be passed from one generation to another.

One of the significant aspects of the discussion was the relationship between history and performance. When history enters the theatrical space, it moves beyond books and dates and becomes an experience that audiences can emotionally connect with. Azaadi Ke Sindoori Rang was appreciated for its ability to communicate patriotism while also encouraging reflection on the values associated with India’s freedom movement.

Vijay Kumar and Sanjay Chaudhary also participated in the discussion and spoke about the holistic vision of Indian art traditions. They emphasised that Indian art has always carried a social and cultural responsibility alongside its aesthetic dimensions. They described Azaadi Ke Sindoori Rang as a play rich in patriotic sentiment and capable of offering meaningful direction to society, stressing that such productions should be staged across different parts of the country.

The event was attended by the play’s director Sunil Chauhan, Sakshi Chauhan, artists associated with the production and several personalities from the cultural and artistic fraternity. Their presence added to the spirit of dialogue and exchange that defines the monthly seminar.

The evening at Kala Sankul ultimately reaffirmed the continuing relevance of theatre as a space where art, history and cultural identity meet. At a time when historical memories are increasingly mediated through different forms of communication, live theatre retains its unique ability to make the past visible, immediate and emotionally resonant.

The programme was conducted by Kuldeep Sharma, while Vishwadeep Sharma delivered the vote of thanks. The successful organisation of the seminar was supported by team members Shruti Sinha, Ritambhara, Brijesh, Raj Upadhyay, Mrityunjay, Sushank and Vijendra, whose contribution was appreciated.

New Delhi, May 31: The cultural symposium “Ancient Traditions of the World”, organized by the Kala Sankul of Sanskar Bharati, unfolded as a captivating confluence of music, dance, and intellectual discourse. Blending artistic excellence with thought-provoking dialogue, the evening offered audiences a rich exploration of India’s cultural heritage while drawing meaningful connections with ancient civilizations across the globe.

The event was organized as part of Kala Sankul’s ongoing monthly cultural dialogue series, a thoughtful initiative aimed at nurturing awareness and appreciation of India’s rich artistic and civilizational heritage. The series brings together distinguished practitioners, scholars, and audiences to engage with subjects that bridge art, culture, history, and philosophy. By encouraging dialogue through music, dance, literature, and scholarly discourse, Kala Sankul aspires to strengthen cultural consciousness and promote a deeper understanding of the values that connect diverse traditions across time and geography.

The programme commenced with a traditional lamp-lighting ceremony, led by Chief Guest Sandeep Kaveeshwar, National Organising Secretary, International Center for Cultural Studies (ICCS), New Delhi, alongside Ashok Tiwari, Central Office Secretary of Sanskar Bharati, and Raj Upadhyay. The ceremonial inauguration was followed by the rendition of Sanskar Bharati’s anthem, setting a dignified and culturally resonant tone for the evening.

The artistic journey began with a mesmerizing performance by renowned sitar virtuoso Pandit Pankaj Vishal, accompanied by celebrated tabla maestro Ustad Mustafa Hussain. Their masterful interplay of melody and rhythm transformed the auditorium into a space of deep musical immersion. The delicate nuances of the sitar, seamlessly woven with the expressive cadence of the tabla, showcased the timeless beauty and sophistication of India’s classical music tradition. The performance not only demonstrated technical brilliance but also evoked the meditative and spiritual essence that lies at the heart of Indian classical music.

The evening continued with an enchanting Kathak recital by acclaimed dancer Kripa Tendulkar. Rooted in the rich aesthetics of the Lucknow Gharana, her performance reflected a graceful synthesis of expression, rhythm, technique, and storytelling. Through intricate footwork, elegant movements, and evocative abhinaya, she captivated the audience and reaffirmed the enduring relevance of Indian classical dance in contemporary cultural life. Her presentation beautifully illustrated how traditional art forms continue to evolve while remaining deeply connected to their cultural roots.

Following the performances, Chief Speaker Sandeep Kaveeshwar delivered an insightful address on the theme “Ancient Traditions of the World.” He highlighted the remarkable cultural parallels that emerge when studying ancient civilizations across continents. Drawing attention to shared symbols, philosophies, artistic practices, and spiritual traditions, he emphasized the importance of exploring these interconnected histories to better understand humanity’s collective cultural inheritance. He noted that many elements of Indian culture find echoes in diverse civilizations around the world, opening new avenues for comparative cultural study and dialogue. His lecture was both enlightening and reflective, encouraging the audience to view world cultures through a lens of mutual respect, curiosity, and understanding.

One of the defining strengths of the event was its seamless organization and graceful presentation. Ritambhara, serving as the compère for the evening, guided the programme with warmth, clarity, and poise, ensuring a smooth transition between performances and discussions. Her engaging presence helped maintain the flow and coherence of the evening’s diverse segments.

The event concluded with a formal vote of thanks delivered by Vishwadeep, who expressed gratitude to the artists, speakers, guests, organizers, and attendees for their contribution to the success of the symposium. This was followed by a serene recitation of the Shanti Mantra by Brijesh, bringing the gathering to a contemplative and harmonious close.

The success of the symposium was made possible through the dedicated efforts of the Kala Sankul team. Garima Rani, Shraboni Saha, Sneha Mukherjee, Pradeep Pathak, Mrityunjay, and Bijendra Kumar played instrumental roles in planning and executing the event, contributing significantly to its smooth and successful realization.

More than a cultural programme, the symposium emerged as a meaningful platform for dialogue between India’s artistic traditions and the ancient cultural legacies of the world. Through the harmonious union of music, dance, and scholarship, the evening celebrated the enduring power of culture to connect communities, transcend geographical boundaries, and illuminate humanity’s shared heritage. The event stood as a reminder that in an increasingly interconnected world, the study and celebration of ancient traditions continue to inspire cultural understanding, intellectual exchange, and collective reflection.

Organized by Sanskar Bharati on 29 March 2026 in New Delhi, “Kala Sankul” featured a meaningful seminar alongside a vibrant cultural program, emerging as an excellent confluence of art and thought. The central theme of the discussion—“Indian Art Discourse and the Role of Artists in Nation Building”—sparked a deep and thought-provoking dialogue, highlighting the relevance of artistic expression in shaping society.

The evening began on a traditional note with the ceremonial lighting of the lamp by Chief Guest Mr. Ashish Kumar Anshu (Writer & Director), along with Digvijay Ji, senior theatre practitioner Shyam Kumar, and Mrityunjay Ji, setting a tone of dignity and cultural reverence. The moment was further marked by a warm gesture of respect, as Abhijeet Gokhale, All India Organization Secretary of Sanskar Bharati, felicitated the chief guest with an angavastram, symbolizing India’s rich heritage of honoring artistic excellence.

As the performances commenced, the stage transformed into a canvas of artistic brilliance. Renowned Kathak artist Ms. Sneha Sharma captivated the audience with a mesmerizing performance, where her command over expression (bhava), rhythm (laya), and intricate footwork (taal) reflected the timeless elegance of Indian classical dance. Each movement carried grace and precision, leaving the audience spellbound.

The energy of the evening took a vibrant turn with the Sambalpuri folk dance presentation by Kala Kalp Cultural Institute, which brought alive the spirit of folk traditions. The performance by Sudharani Geru, Supriya Pradhan, Dishita, Subhashree Sahoo, Deepshika, and Ipshita Behura was marked by remarkable synchronization, enthusiasm, and expressive storytelling. Their collective rhythm and colorful presentation beautifully reflected the simplicity and vitality of rural cultural life.

Adding intellectual depth to the evening, Chief Guest Mr. Ashish Kumar Anshu shared his thoughts on “Indian Art Discourse and the Role of Artists in Nation Building.” He emphasized that art is not merely a form of expression but a powerful medium of social transformation, urging artists to remain socially conscious and sensitive. His address was both thought-provoking and inspiring, leaving a lasting impact on the audience.

The flow of the program was seamlessly maintained by Kuldeep, whose engaging and effortless anchoring ensured a lively and cohesive experience throughout the event. The evening concluded on a serene and spiritual note with a Shanti Mantra presentation by Brijesh, filling the atmosphere with a sense of calm and introspection.

The success of the event was the result of the collective dedication and collaboration of numerous artists and contributors. Notable among them were Shyam Kumar, Raj Upadhyay, Vishwadeep, Jitendra Kumar, Shraboni Saha, Sneha Mukherjee, Garima Rani, Ritambara, Brijesh Vishwakarma, Vijender, and Harshit Goyal, whose unwavering support and commitment made the program both memorable and impactful.

In essence, “Kala Sankul” was more than just a cultural event; it emerged as a dynamic platform where art, thought, and society converged in meaningful dialogue, inspiring the audience with renewed energy and a deeper appreciation for the arts.

New Delhi, March 19, 2026 — Marking the auspicious occasion of the Indian New Year, a grand cultural evening organized by Sanskar Bharati – Kala Sankul transformed the capital’s cultural landscape into a vibrant celebration of heritage and artistic excellence. The Indian New Year is not merely a change of date; it symbolizes renewal, cultural awakening, and a reaffirmation of timeless values.

Celebrated on Chaitra Shukla Pratipada, which heralds the beginning of Vikram Samvat 2083, the event was hosted at the central office auditorium of Kala Sankul, located on Deen Dayal Upadhyay Marg. The evening stood as a vivid reflection of India’s rich traditions, classical art forms, and cultural consciousness.

The program commenced with a ceremonial lamp lighting by Chief Guest Shri Ravi Shankar, Director of Sanskriti Adhyayan Kendra and Editor of Ganananchal, along with Shri Ashok Tiwari (Central Office Secretary, Sanskar Bharati), renowned dancer Shruti Sinha, and senior theatre practitioners Raj Upadhyay and Shyam Kumar.

The highlight of the evening was a series of captivating Kathak performances. Smt. Sangeeta Dastidar mesmerized the audience with her powerful and emotive presentation, marked by depth, discipline, and remarkable stage presence. Her performance elevated the artistic tone of the evening. Sh. Akshar Tekchandani enthralled the audience with his dynamic expression, showcasing a refined balance of rhythm (taal), tempo (laya), and emotion (bhaav).

In his address, Chief Guest Shri Ravi Shankar eloquently spoke about the cultural and scientific significance of the Indian New Year. Emphasizing the relevance of traditional Indian timekeeping systems, he advocated for their revival and deeper integration into contemporary life, especially among the younger generation. His speech was both enlightening and inspiring.

The event was gracefully anchored by Shraboni Saha (Mun Mun), whose articulate presentation added coherence and charm to the proceedings. The vote of thanks was delivered by Shruti Sinha, followed by a serene rendition of the Shanti Mantra by Brijesh.

The success of the evening was made possible through the collective efforts of numerous artists, theatre practitioners, and contributors, including Raj Upadhyay, Shyam Kumar, Jitendra Kumar, Bharti Dang, Sneha Mukherjee, Nandini Kumari, Tarushi Singh Rajora, Sakshi Sharma, Lavanya, Garima Rani, Brijesh Vishwakarma, Vijender, and Harshit Goyal.

Overall, the cultural evening at Kala Sankul emerged as a dignified and impactful celebration of the Indian New Year—strengthening the bond between people and the rich artistic and cultural traditions of India.

At the theatre seminar organized at Kala Sankul by Sanskar Bharati, Abhigyan Natya Association, Delhi presented a compelling staging of “Jalam Amritam.” The research-based music and dance theatre production was written by Dr. Madhu Pant and directed by senior theatre practitioner Nisha Trivedi. Rooted in the philosophy of the five elements (Panchamahabhuta), the play examined the fractured relationship between humanity and nature in the context of contemporary ecological crises.

The programme formally commenced with a traditional ceremonial lamp-lighting (Deep Prajwalan), symbolizing the invocation of wisdom and creative energy. The lamp was lit by Shri Ashok Tiwari, Central Office Secretary of Sanskar Bharati Kala Sankul; Dr. Madhu Pant, the playwright; Nisha Trivedi, the director; senior theatre practitioner Lokendra Trivedi; and seminar convener Brijesh.

Kala Sankul: Vision and Cultural Commitment

Kala Sankul is dedicated to nurturing creative thought, cultural awareness, and value-based consciousness through art and literature. It is not merely a venue for performances, but a vibrant center for intellectual exchange and creative dialogue. Engaging with contemporary issues through an Indian cultural perspective and positioning art as a medium of social awareness remain its defining characteristics.

A production like “Jalam Amritam” strongly reflects and fulfills this vision.

Theme and Presentation

Opening with a Vedic invocation, the play re-established water as the sacred and life-sustaining element among the five elements of nature. Through evocative visuals and symbolic characterization, it portrayed environmental degradation—drying rivers, deforestation, and the commodification of water in the name of development.

Characters such as Varun and Prithvi embodied nature’s anguish. Group choreography and symbolic stagecraft enhanced the emotional depth of the narrative.

Music, Research, and Stagecraft

The production’s strength lay significantly in its music and research. The contribution of Lokendra Trivedi in music composition and research was especially noteworthy. He seamlessly blended Vedic tonalities with traditional and contemporary musical textures, transforming the performance into a deeply immersive and spiritual experience.

The choreography by Bhumikedhwar Singh demonstrated a balanced integration of classical and folk elements, marked by expressive movement and emotional intensity.

Lighting and sound design were thematically aligned and impactful, while costumes and props remained simple yet symbolically meaningful.

Post-Performance Review Discussion

A review discussion followed the performance, during which audience members shared thoughtful reflections. Many described the play not merely as an environmental narrative but as a call for introspection and responsibility. Young participants emphasized the importance of practicing water conservation in daily life, while senior attendees appreciated the cultural and Vedic grounding of the production.

Conclusion

At the conclusion of the programme, Shri Ashok Tiwari delivered an inspiring address, stating:

“Kala Sankul is not merely a building, but a temple of artists and art. It is a sacred space where creation becomes a form of spiritual practice and expression guides the conscience of society. We believe in addressing contemporary issues through art to foster awareness and positive transformation. Kala Sankul will continue to advance creative dialogue through such initiatives.”

His words resonated deeply with the spirit of the evening and reaffirmed the institution’s commitment to socially conscious artistic engagement.

The event was gracefully anchored by Mun Mun. The vote of thanks was delivered by Shruti Sinha, and the seminar concluded with a peace invocation led by convener Brijesh. The dedicated efforts of seminar members — Garima Rani, Sneha Mukherjee, Shyam Kumar, Raj Upadhyay, Ritambhara, Mrityunjay, and Bijendra Kumar — contributed significantly to the success of the event.

Overall Assessment

The synergy of Dr. Madhu Pant’s writing, Nisha Trivedi’s sensitive direction, Lokendra Trivedi’s research-driven musical composition, and Bhumikedhwar Singh’s expressive choreography made “Jalam Amritam” a powerful and memorable theatrical experience.

More than a performance, the production stands as a cultural appeal to restore water to its rightful reverence as “Amrit” — the nectar of life.

At Kala Sankul, the art centre of Sanskar Bharati, New Delhi, a monthly symposium dedicated to folk arts and Indian cultural traditions was held on 23rd and 24th January 2026 on the auspicious occasion of Basant Panchami. Conducted in a dignified and emotionally resonant atmosphere, the two-day event emerged as a vibrant celebration of India’s folk consciousness, artistic devotion, and cultural memory.

The first day began with the ceremonial worship of Goddess Saraswati, invoking wisdom, creativity, and artistic insight. Scholars, artists, and cultural practitioners participated in the ritual, creating an ambience of serenity, contemplation, and spiritual warmth that set the tone for the days ahead.

The cultural evening on the second day, held at 5:30 PM, unfolded as a memorable showcase of India’s rich folk heritage. The programme commenced with the lighting of the ceremonial lamp by Sh. Ashok Tiwari, Central Office Secretary; Sh.Sanjay Kumar Poddar, Provincial General Secretary (South Bihar); Shruti Sinha, Symposium Convener; and Mrityunjay Kumar, Monthly Coordinator. Under the gentle glow of the lamps, the stage seemed illuminated by the very spirit of India’s folk traditions.

Folk vocalist Chandni Shukla captivated the audience with her melodious singing, reflecting the simplicity and sweetness of rural life. Her songs carried the fragrance of the soil and evoked memories of village landscapes. This was followed by a soulful Saraswati Vandana presented by renowned artist Amit Kumar, which filled the auditorium with devotion and reverence.

The sequence of folk dances presented a vivid tapestry of regional traditions. The Jhhijhiya dance, performed by Akanksha, Nishu, Dipriya, Rinkle, and Aastha from Purnia, beautifully expressed collective faith and folk spirit. This was followed by the energetic Jat-Jatin dance by noted folk dancers Uday Singh and Shruti Mehta, whose rhythmic vitality held the audience spellbound.

The Sama-Chakeva dance, performed by Shruti, Pratiksha, Rajnandini, and Shambhavi, conveyed delicate feminine emotions deeply rooted in folk life. The evening concluded with vibrant presentations of Jhumar and Kajri, filling the atmosphere with joy and festive exuberance.

These performances were not merely artistic displays but living expressions of traditions passed down through generations. Every rhythm, movement, and melody reflected the depth of India’s cultural memory.

The monthly symposium stood as a meaningful initiative towards the preservation, promotion, and transmission of folk arts to younger generations. The presence of art lovers, intellectuals, and young audiences added depth and significance to the event.

At the conclusion of the programme, all participating artists were honoured with ceremonial shawls by Abhijeet Gokhale, All-India Organisation Secretary, and Ashok Tiwari, in appreciation of their dedication and artistic commitment.

The programme was conducted with grace and clarity by Garima Rani, while Shruti Sinha, Symposium Co-convener, delivered the vote of thanks. The success of the event was made possible through the dedicated efforts of renowned announcer Bharti Dang, Programme Coordinator Mrityunjay Kumar, Brijesh Kumar, Harshit Goyal, Vijender Kumar, and Ritambhara.

This gathering became a cherished cultural memory—where folk art re-emerged with beauty, dignity, and heartfelt warmth.

New Delhi.
The central office “Kala Sankul” of Sanskar Bharati hosted a meaningful symposium that brought together artistic perspectives, creative expression and cultural dialogue under one roof. The event marked three successful years of the Kala Symposium Series, making the gathering a moment of both reflection and renewal.

The program commenced with a traditional lamp-lighting ceremony performed by the Chief Guest Dr. Vinod Narayan Indurkar (Chairman, CCRT), Symposium Convener Shruti Sinha, Co-convener Vishwadeep Ji, Program Coordinators Sakshi Sharma and Sneha Mukherjee.

With the theme “The Role of CCRT in the World of Art from an Indian Perspective,”
Dr. Indurkar delivered the keynote address. He emphasized that:

“Indian art is not merely an act of expression — it is a worldview, a way of life. Our responsibility is to carry this consciousness forward to the next generation through structured institutional efforts.”

He highlighted CCRT’s contribution in preserving India’s folk and classical traditions, supporting artists, and strengthening cultural awareness at the national level. His address offered a deep insight into how policy, pedagogy and cultural values interconnect in shaping India’s artistic future.

Artistic Presentations Enrich the Dialogue

The symposium was further elevated by soulful performances.
Ujra Akshara, Prof. (Dr.) Rachna and Sadhit Kaushal presented musical renditions that echoed the cultural spirit of India. Aparna Sarathe and Aman Pandey expressed philosophical ideas through Kathak, transforming thought into movement and emotion.
These artistic offerings ensured that the gathering was not only intellectually stimulating but also emotionally resonant.

A Gathering of Artists, Scholars and Young Voices

The event witnessed enthusiastic participation from artists, cultural practitioners, scholars, students and young art enthusiasts.
The symposium concluded with a shared resolve to revitalize cultural awareness and sustain the continuity of Indian artistic heritage.

Organizing Team and Contributors

The successful execution of the monthly symposium was supported by:
Harshit Goyal, Sneha Mukherjee, Garima Rani, Pradeep Pathak, Priyanka, Nidhi Tiwari, Deepti, Brijesh Kumar, Vijender Kumar, Sushank and Mrityunjay Ji.
Kuldeep Sharma skillfully conducted the proceedings.

Kala Sankul’s Commitment

Kala Sankul reaffirmed its mission:

“This platform will continue to recognize and encourage artists and institutions that bring forward the sensitive, meaningful and socially relevant questions of art, culture and the nation with a constructive and courageous vision.”